English.

Another lullaby for insomniacs! Matthew Brown sets the poem of Alicia E. Stallings for mixed choir with piano accompaniment in his usual colourful manner. Partly forceful, partly sleepy, this piece is suitable for choirs who wish to feel their way slowly towards modern choral music.

Composer Matthew Brown, who is highly acclaimed in the USA, has set texts from the Dream Songs of the Native American Wintu tribe to music. The typically American style of composition is characterized by spherical sounds.

Latin.

A modern interpretation and setting of the Christmas text about the Immaculate Conception by the award winning American composer Matthew Brown, who has had his choral .works premiered all over the US.

'Daybreak' is a 16th-century love poem set to music by Matthew Brown for four-part chamber choir. Harmonic frictions spice up the tonal image of romantic love.

Latin.

Matthew Brown interprets the liturgical phrase Dona Nobis Pacem (meaning 'grant us peace') as the lifelong struggle of individuals to achieve peace in their own lives. These ideas are expressed by the music: forgetful, perhaps devoid of hope, fighting out battles.

E. E. Cummings' poem about a bygone love, about despair, indifference to acceptance is set for mixed choir. Brown's music relives the story with hovering and grating sounds, demanding courage to use extremely different dynamics.

Kurze Cluster, die sich kaum merklich auflosen und die Harmonie verandern, umspielen das spatromantische Liebesgedicht. Grosstenteils getragen und flachig verlangt diese Komposition eine gute Intonation.

Zart und filigran wirken die feinen Melismen des vertonten Liebesgedichtes, die sich uber herbe und archaisch anmutende Klange erheben. Sie entfuhren Horer und Sanger in die schroffe Landschaft Schottlands, der Heimat des Dichters.

Latin.

The text of Hildegard von Bingen is interpreted with spherical and archaic sounds. Frictions form and dissolve, harmonies come and go. The piece is particularly suitable for chamber choir, demanding a trained ear of the singers.

Das Liebesgedicht von Lord Byron lebt in dieser Vertonung durch feinste dynamische Unterschiede und spharische Klange. Der Komponist arbeitet mit Temposchwankungen und einer sehr expliziten Ausdeutung des fruhromantischen Textes.